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Asure Software and Lendio Announce Strategic Partnership to Launch Lendio in the Asure Marketplace

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Get the most recent info and news about Table XI on HackerNoon, where 10k+ technologists publish stories for 4M+ monthly readers.

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Table XI

The Murder of Roger Ackroyd by Agatha Christie is part of the HackerNoon Books Series. Read this book online for free on HackerNoon! : The murder of Roger Ackroyd Title : Agatha Christie Author : October 2, 2022 [eBook #69087] Release date : English Language Table of Links CHAPTER I. DR. SHEPPARD AT THE BREAKFAST TABLE II. WHO’S WHO IN KING’S ABBOT III. THE MAN WHO GREW VEGETABLE MARROWS IV. DINNER AT FERNLY V. MURDER VI. THE TUNISIAN DAGGER VIII. LEARN MY NEIGHBOR’S PROFESSION VIIII. INSPECTOR RAGLAN IS CONFIDENT IX. THE GOLDFISH POND X. THE PARLORMAID XI. POIROT PAYS A CALL XII. ROUND THE TABLE XIII. THE GOOSE QUILL XIV. MRS. ACKROYD XV. GEOFFREY RAYMOND XVI. AN EVENING AT MAH JONG XVII. PARKER XVIII. CHARLES KENT XIX. FLORA ACKROYD XX. MISS RUSSELL XXI. THE PARAGRAPH IN THE PAPER XXII. URSULA’S STORY XXIII. POIROT’S LITTLE REUNION XXIV. RALPH PATON’S STORY XXV. THE WHOLE TRUTH XXVI. AND NOTHING BUT THE TRUTH XXVII. APOLOGIA About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Agatha Christie (2006). The Murder of Roger Ackroyd. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/69087/pg69087-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

The Murder of Roger Ackroyd by Agatha Christie - Table of Links

Someday you’ll come along with an idea to create the next big app which will bring your name into repute or make you rich. First of all, you can start googling “who can I hire to build an app”. Because Google knows everyone and everything. Or, if you have a similar experience, you’ll search “outsourcing software development company”. But of course, choosing might take a few weeks to a few months before picking that one for all your development requirements. Here is the list of trusted IT Outsourcing Companies based on Quora and Appfutura research. VironIT VironIT is a custom software development company with a primary focus on delivering end-to-end software development services. Company’s core areas of expertise are development of mobile applications, web-oriented software products, business software solutions, software integration, updating, support and maintenance of developed applications. VironIT has successfully carried out over 500 successful projects to over 300 high-profile companies in eHealth, Sports, Banking, Retail, Marketing, Gaming and other industries. The company’s clients range from SMEs to Fortune 500 corporations based in Western Europe and North America. VironIT’s team consists of 100+ seasoned specialists: software developers, engineers, and scientists with expertise in different technical domains. All of the company’s members have bachelor’s or master’s degrees in sciences and rich experience in the software development field. Most of VironIT’s employees are senior or mid-level developers. Ciklum Ciklum is a software solutions company headquartered in Kyiv, Ukraine, with offices in the UK, Denmark, Spain, Belarus, and the U.S., and more. With about 3,000 employees, Ciklum not only specializes in software engineering but also provides e-commerce and mobile app development, application testing, IT strategy consulting, and staff augmentation. Their clients range from large multinational companies to fast-growing startups working toward an IPO. Ciklum was hired by an enterprise IT firm as the main development resource: backend and frontend developers, quality assurance specialists, and business analysts. Operating as part of the team on an ongoing basis, Ciklum developed an e-commerce platform for the IT firm’s client that resulted in $50,000,000 per year in sales. Eight Bit Studios Founded in 2008, Eight Bit Studios is based in Chicago, IL. They focus on mobile apps, customer software development, and UX/UI design. The team of 35+ employees helps key industries, including education and gaming burst business. Eight Bit Studios redeveloped a product for an augmented-reality gaming platform. They had to review the platform to learn how as operating and then piece the platform back together. They were able to ensure all code worked properly. PSL Corp. PSL Corp. is a software engineering company that was founded in 1986. With locations in New York; Medellín, Colombia; and Mexico City, PSL Corp. has more than 650 employees. They specialize in custom software development, big data consulting, cloud consulting, system integration, and web development. PSL Corp. supports mid-sized and enterprise clients across a range of industries. PSL Corp. built a marketing web application for a sales software firm. The client valued PSL Corp.’s ability to program flawless, bug-free code thanks to their high level of expertise in development. To support the client and maintain quality assurance, PSL Corp. continues to provide ongoing maintenance and support. Table XI Table XI is a mobile app and custom software developer based in Chicago, IL. Founded in 2004, they are 35 dedicated app and website builders with a flair for bespoke design and digital strategy. Table XI recreated the website of a global events company, building a video player and an iOS app to deliver content, all with no site downtime. After the migration, the app and site functioned seamlessly. The client recommended Table XI for their cost, clarity, and adherence to deadlines. Intellectsoft Founded in 2007, Intellectsoft is a full-service software partner, focusing on app development for web, mobile, and emerging technologies. Headquartered in Palo Alto, California, their 200+ business strategists and tech specialists collaborate across seven global offices to create digital solutions for startups and enterprises alike. Intellectsoft created an e-commerce app with matching backend infrastructure, then integrated it into the client’s blockchain technology. Transforming the given creative demands into a satisfactory product under a strenuous deadline was deemed impressive, as were their communication skills and determination. iTechArt iTechArt is a top-tier, one-stop custom software development company. 73% of its clients come from referrals. With over 800 experienced engineers, iTechArt works with startups and other fast-growing companies to create the coolest, most innovative, and successful mobile and web applications. It also provides custom software development and QA & testing services in the industry. Itransition Founded in 1998 outside Denver, CO, Itransition now has an office in Austin, TX, as well as the UK and Belarus. They bring their 20 years experience and 1500+ person team to the table for custom software development, web development, and e-commerce development. Itransition was hired by another development firm to collaborate on a project for a tourism company. They migrated 44 websites into one e-commerce platform, Magento. 10Pearls Based in Vienna, VA, 10Pearls designs and maintains apps for various companies. The company and its nearly 350 employees have experience in cybersecurity, product development, and UX/UI design. A telemedicine company needed assistance with platform development and maintenance. 10Pearls helped the telemedicine company with all aspects of platform development, creating a website and mobile app and ensuring the website’s backend was admin-friendly. LOVATA LOVATA is an IT company headquartered in Minsk, Belarus. Founded in 2008, they provide services for web development and custom software development. They have about 24 employees that serve a range of clients in the healthcare, e-commerce, retail, and financial services sectors. LOVATA designed a website to increase a publishing company’s brand awareness. Revenue rose 400% as a result of more paid subscriptions and increased audience size. RubyGarage Development agency RubyGarage is located in Dnipro, Ukraine. Since it was founded in 2011, their team has evolved to about 100 employees. RubyGarages partners primarily with small businesses. Their services are centered on custom software, mobile app, and web development. RubyGarage provides digital marketing and development services for a software company. The client noted that the team’s development services were high quality. The marketing campaigns they executed improved traction and visibility during the entire length of the engagement. Belatrix Software Belatrix Software is an app development company headquartered in Argentina. The large team also has offices in Latin America, Florida, New York, and California. Founded in 2003, the agency is known as one of the top providers for software engineering services. Belatrix Software offered front-end development services to a financial group, helping the client’s existing development team build productivity-related tools. The client lacked the necessary development resources to process a backlog of work, so Belatrix Software’s development expertise complimented their in-house development team. The project is ongoing, and the client praised Belatrix Software’s work. Wizeline Headquartered in San Francisco, Wizeline is a product development company with offices in Guadalajara and Mexico City, Mexico, and Ho Chi Minh, Vietnam. Since its founding in 2014, the team has grown to over 390 employees. Wizeline specializes in custom software, web, and mobile app development and UX/UI design. An entertainment company hired Wizeline to improve their website’s CMS. Based on the team’s initial success, they fostered a partnership that’s still ongoing. The agency’s skills made them stand out from comparable firms throughout the process. The client appreciates Wizeline’s collaborative spirit and excellent communication skills. Fingent Technologies Founded in 2003, Fingent is a web and mobile development company which has offices in the United States, India and the United Arab Emirates. Its global team of 230 employees has helped hundreds of mid and large size organizations implement software solutions that increase productivity and profits. Oxagile Oxagile provides end-to-end custom software development services to SMBs and enterprises, focusing on online video management, advertising, real-time communication, and data solutions. The company’s headquarters are located in New York, with an EMEA office in London and the development center in Belarus. Oxagile offers both Scrum and Waterfall methodologies. With Vodafone among their clients and Microsoft among the partners, Oxagile is one of the top custom software development companies for video solutions for SMBs and enterprises. SumatoSoft SumatoSoft offers full-cycle app development, starting from the zero, through consulting, developing and finishing custom software. They work for large enterprises, startup companies, create B2B and B2C e-commerce, automated chatbot and more. SumatoSoft’s collaboration with Toyota was one of the biggest projects of the company. Here, they introduced new and optimized existing processes of the business, supported their marketing system, ensured an effective functioning of their offices across the world, rearranged and recreated the entire Toyota’s IT system. Praxent Praxent is not a simple custom software IT company. They have the role of an IT assistant to businesses of all sizes. By introducing custom cloud solutions to a ticket broker TicketCity, Praxent liberated 98% of their inventory, resulting in expansion of the system capacity by the whole 6800%. Moreover, Praxent gained 12,000 subscribers for Plumb’s veterinary drugs within a short time period, making the veterinary handbook easily accessible online for veterinarians across the world. Orases Orases is a modern agency from the US with standard services on their menu, including mobile and web applications development, custom software services and flexible IT solutions. They list SMBs and Fortune 500 companies as only some of the businesses they work with it. This company was involved in two industries that not many custom software IT outsource companies cover — sports and farming. Namely, they created websites for Dairy Farmers of America, Homegrown Frederick and Prince George’s County, as well as MLB Pitch Hit & Run, and several apps for NFL. FrogSlayer FrogSlayer provides growing companies with the custom software tools they need to accelerate growth and become the technology or data leader in their industry. Since 2011, its team has helped over 60 clients become technology leaders in a variety of industries. It has made commercial buildings smarter, oil rigs safer, financial crime harder, education more accessible, healthcare more efficient, and much more. FrogSlayer’s clients have generated over $350M in ROI — an average of 23x payback in 2 years or less. N-iX N-iX is an Eastern European IT company with over 16 years of excellence as a reliable technology partner for innovative companies across North America, UK, and Europe. N-iX has over 800 experienced software engineers working within development centers in Lviv, Kyiv (Ukraine), Kraków (Poland), Minsk (Belarus) and representative offices in Malmö (Sweden) and St. Petersburg, FL (USA). Hope this list of notable outsourcing companies will help you to burst your business to the next level. If you have seen any company that should be added to this list, then leave a note in comments.

Top IT Outsourcing Companies

The Murder of Roger Ackroyd by Agatha Christie, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . ROUND THE TABLE CHAPTER XII. ROUND THE TABLE A joint inquest was held on Monday. I do not propose to give the proceedings in detail. To do so would only be to go over the same ground again and again. By arrangement with the police, very little was allowed to come out. I gave evidence as to the cause of Ackroyd’s death and the probable time. The absence of Ralph Paton was commented on by the coroner, but not unduly stressed. Afterwards, Poirot and I had a few words with Inspector Raglan. The inspector was very grave. “It looks bad, Mr. Poirot,” he said. “I’m trying to judge the thing fair and square. I’m a local man, and I’ve seen Captain Paton many times in Cranchester. I’m not wanting him to be the guilty one—but it’s bad whichever way you look at it. If he’s innocent, why doesn’t he come forward? We’ve got evidence against him, but it’s just possible that that evidence could be explained away. Then why doesn’t he give an explanation?” A lot more lay behind the inspector’s words than I knew at the time. Ralph’s description had been wired to every port and railway station in England. The police everywhere were on the alert. His rooms in town were watched, and any houses he had been known to be in the habit of frequenting. With such a it seemed impossible that Ralph should be able to evade detection. He had no luggage, and, as far as any one knew, no money. cordon “I can’t find any one who saw him at the station that night,” continued the inspector. “And yet he’s well known down here, and you’d think somebody would have noticed him. There’s no news from Liverpool either.” “You think he went to Liverpool?” queried Poirot. “Well, it’s on the cards. That telephone message from the station, just three minutes before the Liverpool express left—there ought to be something in that.” “Unless it was deliberately intended to throw you off the scent. That might just possibly be the point of the telephone message.” “That’s an idea,” said the inspector eagerly. “Do you really think that’s the explanation of the telephone call?” “My friend,” said Poirot gravely, “I do not know. But I will tell you this: I believe that when we find the explanation of that telephone call we shall find the explanation of the murder.” “You said something like that before, I remember,” I observed, looking at him curiously. Poirot nodded. “I always come back to it,” he said seriously. “It seems to me utterly irrelevant,” I declared. “I wouldn’t say that,” demurred the inspector. “But I must confess I think Mr. Poirot here harps on it a little too much. We’ve better clews than that. The fingerprints on the dagger, for instance.” Poirot became suddenly very foreign in manner, as he often did when excited over anything. “M. l’Inspecteur,” he said, “beware of the blind—the blind—comment dire?—the little street that has no end to it.” Inspector Raglan stared, but I was quicker. “You mean a blind alley?” I said. “That is it—the blind street that leads nowhere. So it may be with those fingerprints—they may lead you nowhere.” “I don’t see how that can well be,” said the police officer. “I suppose you’re hinting that they’re faked? I’ve read of such things being done, though I can’t say I’ve ever come across it in my experience. But fake or true—they’re bound to lead .” somewhere Poirot merely shrugged his shoulders, flinging out his arms wide. The inspector then showed us various enlarged photographs of the fingerprints, and proceeded to become technical on the subject of loops and whorls. “Come now,” he said at last, annoyed by Poirot’s detached manner, “you’ve got to admit that those prints were made by some one who was in the house that night?” “Bien entendu,” said Poirot, nodding his head. “Well, I’ve taken the prints of every member of the household, every one, mind you, from the old lady down to the kitchenmaid.” I don’t think Mrs. Ackroyd would enjoy being referred to as the old lady. She must spend a considerable amount on cosmetics. “Every one’s,” repeated the inspector fussily. “Including mine,” I said dryly. “Very well. None of them correspond. That leaves us two alternatives. Ralph Paton, or the mysterious stranger the doctor here tells us about. When we get hold of those two——” “Much valuable time may have been lost,” broke in Poirot. “I don’t quite get you, Mr. Poirot?” “You have taken the prints of every one in the house, you say,” murmured Poirot. “Is that the exact truth you are telling me there, M. l’Inspecteur?” “Certainly.” “Without overlooking any one?” “Without overlooking any one.” “The quick or the dead?” For a moment the inspector looked bewildered at what he took to be a religious observation. Then he reacted slowly. “You mean——” “The dead, M. l’Inspecteur.” The inspector still took a minute or two to understand. “I am suggesting,” said Poirot placidly, “that the fingerprints on the dagger handle are those of Mr. Ackroyd himself. It is an easy matter to verify. His body is still available.” “But why? What would be the point of it? You’re surely not suggesting suicide, Mr. Poirot?” “Ah! no. My theory is that the murderer wore gloves or wrapped something round his hand. After the blow was struck, he picked up the victim’s hand and closed it round the dagger handle.” “But why?” Poirot shrugged his shoulders again. “To make a confusing case even more confusing.” “Well,” said the inspector, “I’ll look into it. What gave you the idea in the first place?” “When you were so kind as to show me the dagger and draw attention to the fingerprints. I know very little of loops and whorls—see, I confess my ignorance frankly. But it did occur to me that the position of the prints was somewhat awkward. Not so would I have held a dagger in order to strike. Naturally, with the right hand brought up over the shoulder backwards, it would have been difficult to put it in exactly the right position.” Inspector Raglan stared at the little man. Poirot, with an air of great unconcern, flecked a speck of dust from his coat sleeve. “Well,” said the inspector, “it’s an idea. I’ll look into it all right, but don’t you be disappointed if nothing comes of it.” He endeavored to make his tone kindly and patronizing. Poirot watched him go off. Then he turned to me with twinkling eyes. “Another time,” he observed, “I must be more careful of his amour propre. And now that we are left to our own devices, what do you think, my good friend, of a little reunion of the family?” The “little reunion,” as Poirot called it, took place about half an hour later. We sat round the table in the dining-room at Fernly—Poirot at the head of the table, like the chairman of some ghastly board meeting. The servants were not present, so we were six in all. Mrs. Ackroyd, Flora, Major Blunt, young Raymond, Poirot, and myself. When every one was assembled, Poirot rose and bowed. “Messieurs, mesdames, I have called you together for a certain purpose.” He paused. “To begin with, I want to make a very special plea to mademoiselle.” “To me?” said Flora. “Mademoiselle, you are engaged to Captain Ralph Paton. If any one is in his confidence, you are. I beg you, most earnestly, if you know of his whereabouts, to persuade him to come forward. One little minute”—as Flora raised her head to speak—“say nothing till you have well reflected. Mademoiselle, his position grows daily more dangerous. If he had come forward at once, no matter how damning the facts, he might have had a chance of explaining them away. But this silence—this flight—what can it mean? Surely only one thing, knowledge of guilt. Mademoiselle, if you really believe in his innocence, persuade him to come forward before it is too late.” Flora’s face had gone very white. “Too late!” she repeated, very low. Poirot leant forward, looking at her. “See now, mademoiselle,” he said very gently, “it is Papa Poirot who asks you this. The old Papa Poirot who has much knowledge and much experience. I would not seek to entrap you, mademoiselle. Will you not trust me—and tell me where Ralph Paton is hiding?” The girl rose, and stood facing him. “M. Poirot,” she said in a clear voice, “I swear to you—swear solemnly—that I have no idea where Ralph is, and that I have neither seen him nor heard from him either on the day of—of the murder, or since.” She sat down again. Poirot gazed at her in silence for a minute or two, then he brought his hand down on the table with a sharp rap. “Bien! That is that,” he said. His face hardened. “Now I appeal to these others who sit round this table, Mrs. Ackroyd, Major Blunt, Dr. Sheppard, Mr. Raymond. You are all friends and intimates of the missing man. If you know where Ralph Paton is hiding, speak out.” There was a long silence. Poirot looked to each in turn. “I beg of you,” he said in a low voice, “speak out.” But still there was silence, broken at last by Mrs. Ackroyd. “I must say,” she observed in a plaintive voice, “that Ralph’s absence is most peculiar—most peculiar indeed. Not to come forward at such a time. It looks, you know, as though there were something it. I can’t help thinking, Flora dear, that it was a very fortunate thing your engagement was never formally announced.” behind “Mother!” cried Flora angrily. “Providence,” declared Mrs. Ackroyd. “I have a devout belief in Providence—a divinity that shapes our ends, as Shakespeare’s beautiful line runs.” “Surely you don’t make the Almighty directly responsible for thick ankles, Mrs. Ackroyd, do you?” asked Geoffrey Raymond, his irresponsible laugh ringing out. His idea was, I think, to loosen the tension, but Mrs. Ackroyd threw him a glance of reproach and took out her handkerchief. “Flora has been saved a terrible amount of notoriety and unpleasantness. Not for a moment that I think dear Ralph had anything to do with poor Roger’s death. I think so. But then I have a trusting heart—I always have had, ever since a child. I am loath to believe the worst of any one. But, of course, one must remember that Ralph was in several air raids as a young boy. The results are apparent long after, sometimes, they say. People are not responsible for their actions in the least. They lose control, you know, without being able to help it.” don’t “Mother,” cried Flora, “you don’t think Ralph did it?” “Come, Mrs. Ackroyd,” said Blunt. “I don’t know what to think,” said Mrs. Ackroyd tearfully. “It’s all very upsetting. What would happen to the estate, I wonder, if Ralph were found guilty?” Raymond pushed his chair away from the table violently. Major Blunt remained very quiet, looking thoughtfully at her. “Like shell-shock, you know,” said Mrs. Ackroyd obstinately, “and I dare say Roger kept him very short of money—with the best intentions, of course. I can see you are all against me, but I do think it is very odd that Ralph has not come forward, and I must say I am thankful Flora’s engagement was never announced formally.” “It will be to-morrow,” said Flora in a clear voice. “Flora!” cried her mother, aghast. Flora had turned to the secretary. “Will you send the announcement to the Morning Post and the Times, please, Mr. Raymond.” “If you are sure that it is wise, Miss Ackroyd,” he replied gravely. She turned impulsively to Blunt. “You understand,” she said. “What else can I do? As things are, I must stand by Ralph. Don’t you see that I must?” She looked very searchingly at him, and after a long pause he nodded abruptly. Mrs. Ackroyd burst out into shrill protests. Flora remained unmoved. Then Raymond spoke. “I appreciate your motives, Miss Ackroyd. But don’t you think you’re being rather precipitate? Wait a day or two.” “To-morrow,” said Flora, in a clear voice. “It’s no good, mother, going on like this. Whatever else I am, I’m not disloyal to my friends.” “M. Poirot,” Mrs. Ackroyd appealed tearfully, “can’t you say anything at all?” “Nothing to be said,” interpolated Blunt. “She’s doing the right thing. I’ll stand by her through thick and thin.” Flora held out her hand to him. “Thank you, Major Blunt,” she said. “Mademoiselle,” said Poirot, “will you let an old man congratulate you on your courage and your loyalty? And will you not misunderstand me if I ask you—ask you most solemnly—to postpone the announcement you speak of for at least two days more?” Flora hesitated. “I ask it in Ralph Paton’s interests as much as in yours, mademoiselle. You frown. You do not see how that can be. But I assure you that it is so. Pas de blagues. You put the case into my hands—you must not hamper me now.” Flora paused a few minutes before replying. “I do not like it,” she said at last, “but I will do what you say.” She sat down again at the table. “And now, messieurs et mesdames,” said Poirot rapidly, “I will continue with what I was about to say. Understand this, I mean to arrive at the truth. The truth, however ugly in itself, is always curious and beautiful to the seeker after it. I am much aged, my powers may not be what they were.” Here he clearly expected a contradiction. “In all probability this is the last case I shall ever investigate. But Hercule Poirot does not end with a failure. Messieurs et mesdames, I tell you, I mean to . And I shall know—in spite of you all.” know He brought out the last words provocatively, hurling them in our face as it were. I think we all flinched back a little, excepting Geoffrey Raymond, who remained good humored and imperturbable as usual. “How do you mean—in spite of us all?” he asked, with slightly raised eyebrows. “But—just that, monsieur. Every one of you in this room is concealing something from me.” He raised his hand as a faint murmur of protest arose. “Yes, yes, I know what I am saying. It may be something unimportant—trivial—which is supposed to have no bearing on the case, but there it is. Come, now, am I right?” Each one of you has something to hide. His glance, challenging and accusing, swept round the table. And every pair of eyes dropped before his. Yes, mine as well. “I am answered,” said Poirot, with a curious laugh. He got up from his seat. “I appeal to you all. Tell me the truth—the whole truth.” There was a silence. “Will no one speak?” He gave the same short laugh again. “C’est dommage,” he said, and went out. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Agatha Christie (2006). The Murder of Roger Ackroyd. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/69087/pg69087-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

ROUND THE TABLE

MATHEMATICAL MEMORIES: MY LITTLE TABLE

The Radio Amateur's Hand Book, by A. Frederick Collins is part of . You can jump to any chapter in this book here: . Chapter XI: Short wave Regenerative Receiving Sets HackerNoon’s Book Blog Post series [LINK TO TABLE OF LINK] XI. SHORT WAVE REGENERATIVE RECEIVING SETS A short wave receiving set is one that will receive a range of wave lengths of from 150 to 600 meters while the distance over which the waves can be received as well as the intensity of the sounds reproduced by the headphones depends on: (1) whether it is a regenerative set and (2) whether it is provided with amplifying tubes. High-grade regenerative sets designed especially for receiving amateur sending stations that must use a short wave length are built on the regenerative principle just like those described in the last chapter and further amplification can be had by the use of amplifier tubes as explained in , but the new feature of these sets is the use of the variocoupler and one or more variometers. These tuning devices can be connected up in different ways and are very popular with amateurs at the present time. Chapter IX Differing from the ordinary loose coupler the variometer has no movable contacts while the variometer is provided with taps so that you can connect it up for the wave length you want to receive. All you have to do is to tune the oscillation circuits to each other is to turn the rotor, which is the secondary coil, around in the stator, as the primary coil is called in order to get a very fine variation of the wave length. It is this construction that makes sharp tuning with these sets possible, by which is meant that all wave lengths are tuned out except the one which the receiving set is tuned for. A Short Wave Regenerative Receiver--With One Variometer and Three Variable Condensers.--This set also includes a variocoupler and a grid coil. The way that the parts are connected together makes it a simple and at the same time a very efficient regenerative receiver for short waves. While this set can be used without shielding the parts from each other the best results are had when shields are used. The parts you need for this set include: (1) one variocoupler; (2) one .001 microfarad variable condenser; (3) one .0005 microfarad variable condenser; (4) one .0007 microfarad variable condenser; (5) one 2 megohm grid leak; (6) one vacuum tube detector; (7) one 6 volt A battery; (8) one 6 ohm, 1-1/2 ampere rheostat; (9) one 200 ohm potentiometer; (10) one 22-1/2 volt B battery; (11) one .001 microfarad fixed condenser, (12) one pair of 2,000 ohm headphones, and (13) a variometer. The Variocoupler.--A variocoupler consists of a primary coil wound on the outside of a tube of insulating material and to certain turns of this taps are connected so that you can fix the wave length which your aerial system is to receive from the shortest wave; i.e., 150 meters on up by steps to the longest wave, i.e., 600 meters, which is the range of most amateur variocouplers that are sold in the open market. This is the part of the variocoupler that is called the stator. The secondary coil is wound on the section of a ball mounted on a shaft and this is swung in bearings on the stator so that it can turn in it. This part of the variocoupler is called the rotor and is arranged so that it can be mounted on a panel and adjusted by means of a knob or a dial. A diagram of a variocoupler is shown at A in Fig. 53, and the coupler itself at B. There are various makes and modifications of variocouplers on the market but all of them are about the same price which is $6.00 or $8.00. The Variometer.--This device is quite like the variocoupler, but with these differences: (1) the rotor turns in the stator, which is also the section of a ball, and (2) one end of the primary is connected with one end of the secondary coil. To be really efficient a variometer must have a small resistance and a large inductance as well as a small dielectric loss. To secure the first two of these factors the wire should be formed of a number of fine, pure copper wires each of which is insulated and the whole strand then covered with silk. This kind of wire is the best that has yet been devised for the purpose and is sold under the trade name of litzendraht. A new type of variometer has what is known as a basket weave, or wavy wound stator and rotor. There is no wood, insulating compound or other dielectric materials in large enough quantities to absorb the weak currents that flow between them, hence weaker sounds can be heard when this kind of a variometer is used. With it you can tune sharply to waves under 200 meters in length and up to and including wave lengths of 360 meters. When amateur stations of small power are sending on these short waves this style of variometer keeps the electric oscillations at their greatest strength and, hence, the reproduced sounds will be of maximum intensity. A wiring diagram of a variometer is shown at A in Fig. 54 and a basketball variometer is shown complete at B. Connecting Up the Parts.--To hook-up the set connect the leading-in wire to one end of the primary coil, or stator, of the variocoupler and solder a wire to one of the taps that gives the longest wave length you want to receive. Connect the other end of this wire with one post of a .001 microfarad variable condenser and connect the other post with the ground as shown in Fig. 55. Now connect one end of the secondary coil, or rotor, to one post of a .0007 mfd. variable condenser, the other post of this to one end of the grid coil and the other end of this with the remaining end of the rotor of the variocoupler. Next connect one post of the .0007 mfd. condenser with one of the terminals of the detector filament; then connect the other post of this condenser with one post of the .0005 mfd. variable condenser and the other post of this with the grid of the detector, then shunt the megohm grid leak around the latter condenser. This done connect the other terminal of the filament to one post of the rheostat, the other post of this to the - or negative electrode of the 6 volt A battery and the + or positive electrode of the latter to the other terminal of the filament. Shunt the potentiometer around the A battery and connect the sliding contact with the - or zinc pole of the B battery and the + or carbon pole with one terminal of the headphone; connect the other terminal to one of the posts of the variometer and the other post of the variometer to the plate of the detector. Finally shunt a .001 mfd. fixed condenser around the headphones. If you want to amplify the current with a vacuum tube amplifier connect in the terminals of the amplifier circuit shown at A in Figs. 44 or 45 at the point where they are connected with the secondary coil of the loose coupled tuning coil, in those diagrams with the binding posts of Fig. 55 where the phones are usually connected in. Short Wave Regenerative Receiver. With Two Variometers and Two Variable Condensers.--This type of regenerative receptor is very popular with amateurs who are using high-grade short-wave sets. When you connect up this receptor you must keep the various parts well separated. Screw the variocoupler to the middle of the base board or panel, and secure the variometers on either side of it so that the distance between them will be 9 or 10 inches. By so placing them the coupling will be the same on both sides and besides you can shield them from each other easier. For the shield use a sheet of copper on the back of the panel and place a sheet of copper between the parts, or better, enclose the variometers and detector and amplifying tubes if you use the latter in sheet copper boxes. When you set up the variometers place them so that their stators are at right angles to each other for otherwise the magnetic lines of force set up by the coils of each one will be mutually inductive and this will make the headphones or loud speaker howl. Whatever tendency the receptor has to howl with this arrangement can be overcome by putting in a grid leak of the right resistance and adjusting the condenser. The Parts and How to Connect Them Up.--For this set you require: (1) one variocoupler; (2) two variometers; (3) one .001 microfarad variable condenser; (4) one .0005 microfarad variable condenser; (5) one 2 megohm grid leak resistance; (6) one vacuum tube detector; (7) one 6 volt A battery; (8) one 200 ohm potentiometer; (9) one 22-1/2 volt B battery; (10) one .001 microfarad fixed condenser, and (11) one pair of 2,000 ohm headphones. To wire up the set begin by connecting the leading-in wire to the fixed end of the primary coil, or stator, of the variocoupler, as shown in Fig. 56, and connect one post of the .001 mfd. variable condenser to the stator by soldering a short length of wire to the tap of the latter that gives the longest wave you want to receive. Now connect one end of the secondary coil, or rotor, of the variocoupler with one post of the .0005 mfd. variable condenser and the other part to the grid of the detector tube. Connect the other end of the rotor of the variocoupler to one of the posts of the first variometer and the other post of this to one of the terminals of the detector filament. Connect this filament terminal with the - or negative electrode of the A battery and the + or positive electrode of this with one post of the rheostat and lead a wire from the other post to the free terminal of the filament. This done shunt the potential around the A battery and connect the sliding contact to the - or zinc pole of the B battery and the + or carbon pole of this to one terminal of the headphones, while the other terminal of this leads to one of the posts of the second variometer, the other post of which is connected to the plate of the detector tube. If you want to add an amplifier tube then connect it to the posts instead of the headphones as described in the foregoing set. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Collins, A. Frederick. 2002. The Radio Amateur's Hand Book. Urbana, Illinois: Project Gutenberg. Retrieved April 2022, from https://www.gutenberg.org/files/6934/6934-h/6934-h.htm#chap11 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever.  You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

What’s Up with Short Wave Regenerative Receiving Sets?

Language: An Introduction to the Study of Speech, by Edward Sapir is part of HackerNoon’s Book Blog Post series. You can jump to any chapter in this book here: [ ]. Chapter XI: Language and Literature LINK TO TABLE OF LINK XI Language and Literature Languages are more to us than systems of thought-transference. They are invisible garments that drape themselves about our spirit and give a predetermined form to all its symbolic expression. When the expression is of unusual significance, we call it literature. Art is so personal an expression that we do not like to feel that it is bound to predetermined form of any sort. The possibilities of individual expression are infinite, language in particular is the most fluid of mediums. Yet some limitation there must be to this freedom, some resistance of the medium. In great art there is the illusion of absolute freedom. The formal restraints imposed by the material—paint, black and white, marble, piano tones, or whatever it may be—are not perceived; it is as though there were a limitless margin of elbow-room between the artist’s fullest utilization of form and the most that the material is innately capable of. The artist has intuitively surrendered to the inescapable tyranny of the material, made its brute nature fuse easily with his conception. The material “disappears” precisely because there is nothing in the artist’s conception to indicate that any other material exists. For the time being, he, and we with him, move in the artistic medium as a fish moves in the water, oblivious of the existence of an alien atmosphere. No sooner, however, does the artist transgress the law of his medium than we realize with a start that there is a medium to obey. [194] [195] Language is the medium of literature as marble or bronze or clay are the materials of the sculptor. Since every language has its distinctive peculiarities, the innate formal limitations—and possibilities—of one literature are never quite the same as those of another. The literature fashioned out of the form and substance of a language has the color and the texture of its matrix. The literary artist may never be conscious of just how he is hindered or helped or otherwise guided by the matrix, but when it is a question of translating his work into another language, the nature of the original matrix manifests itself at once. All his effects have been calculated, or intuitively felt, with reference to the formal “genius” of his own language; they cannot be carried over without loss or modification. Croce is therefore perfectly right in saying that a work of literary art can never be translated. Nevertheless literature does get itself translated, sometimes with astonishing adequacy. This brings up the question whether in the art of literature there are not intertwined two distinct kinds or levels of art—a generalized, non-linguistic art, which can be transferred without loss into an alien linguistic medium, and a specifically linguistic art that is not transferable. I believe the distinction is entirely valid, though we never get the two levels pure in practice. Literature moves in language as a medium, but that medium comprises two layers, the latent content of language—our intuitive record of experience—and the particular conformation of a given language—the specific how of our record of experience. Literature that draws its sustenance mainly—never entirely—from the lower level, say a play of Shakespeare’s, is translatable without too great a loss of character. If it moves in the upper rather than in the lower level—a fair example is a lyric of Swinburne’s—it is as good as untranslatable. Both types of literary expression may be great or mediocre. [196] [197] There is really no mystery in the distinction. It can be clarified a little by comparing literature with science. A scientific truth is impersonal, in its essence it is untinctured by the particular linguistic medium in which it finds expression. It can as readily deliver its message in Chinese as in English. Nevertheless it must have some expression, and that expression must needs be a linguistic one. Indeed the apprehension of the scientific truth is itself a linguistic process, for thought is nothing but language denuded of its outward garb. The proper medium of scientific expression is therefore a generalized language that may be defined as a symbolic algebra of which all known languages are translations. One can adequately translate scientific literature because the original scientific expression is itself a translation. Literary expression is personal and concrete, but this does not mean that its significance is altogether bound up with the accidental qualities of the medium. A truly deep symbolism, for instance, does not depend on the verbal associations of a particular language but rests securely on an intuitive basis that underlies all linguistic expression. The artist’s “intuition,” to use Croce’s term, is immediately fashioned out of a generalized human experience—thought and feeling—of which his own individual experience is a highly personalized selection. The thought relations in this deeper level have no specific linguistic vesture; the rhythms are free, not bound, in the first instance, to the traditional rhythms of the artist’s language. Certain artists whose spirit moves largely in the non-linguistic (better, in the generalized linguistic) layer even find a certain difficulty in getting themselves expressed in the rigidly set terms of their accepted idiom. One feels that they are unconsciously striving for a generalized art language, a literary algebra, that is related to the sum of all known languages as a perfect mathematical symbolism is related to all the roundabout reports of mathematical relations that normal speech is capable of conveying. Their art expression is frequently strained, it sounds at times like a translation from an unknown original—which, indeed, is precisely what it is. These artists—Whitmans and Brownings—impress us rather by the greatness of their spirit than the felicity of their art. Their relative failure is of the greatest diagnostic value as an index of the pervasive presence in literature of a larger, more intuitive linguistic medium than any particular language. [198] Nevertheless, human expression being what it is, the greatest—or shall we say the most satisfying—literary artists, the Shakespeares and Heines, are those who have known subconsciously to fit or trim the deeper intuition to the provincial accents of their daily speech. In them there is no effect of strain. Their personal “intuition” appears as a completed synthesis of the absolute art of intuition and the innate, specialized art of the linguistic medium. With Heine, for instance, one is under the illusion that the universe speaks German. The material “disappears.” Every language is itself a collective art of expression. There is concealed in it a particular set of esthetic factors—phonetic, rhythmic, symbolic, morphological—which it does not completely share with any other language. These factors may either merge their potencies with those of that unknown, absolute language to which I have referred—this is the method of Shakespeare and Heine—or they may weave a private, technical art fabric of their own, the innate art of the language intensified or sublimated. The latter type, the more technically “literary” art of Swinburne and of hosts of delicate “minor” poets, is too fragile for endurance. It is built out of spiritualized material, not out of spirit. The successes of the Swinburnes are as valuable for diagnostic purposes as the semi-failures of the Brownings. They show to what extent literary art may lean on the collective art of the language itself. The more extreme technical practitioners may so over-individualize this collective art as to make it almost unendurable. One is not always thankful to have one’s flesh and blood frozen to ivory. An artist must utilize the native esthetic resources of his speech. He may be thankful if the given palette of colors is rich, if the springboard is light. But he deserves no special credit for felicities that are the language’s own. We must take for granted this language with all its qualities of flexibility or rigidity and see the artist’s work in relation to it. A cathedral on the lowlands is higher than a stick on Mont Blanc. In other words, we must not commit the folly of admiring a French sonnet because the vowels are more sonorous than our own or of condemning Nietzsche’s prose because it harbors in its texture combinations of consonants that would affright on English soil. To so judge literature would be tantamount to loving “Tristan und Isolde” because one is fond of the timbre of horns. There are certain things that one language can do supremely well which it would be almost vain for another to attempt. Generally there are compensations. The vocalism of English is an inherently drabber thing than the vowel scale of French, yet English compensates for this drawback by its greater rhythmical alertness. It is even doubtful if the innate sonority of a phonetic system counts for as much, as esthetic determinant, as the relations between the sounds, the total gamut of their similarities and contrasts. As long as the artist has the wherewithal to lay out his sequences and rhythms, it matters little what are the sensuous qualities of the elements of his material. The phonetic groundwork of a language, however, is only one of the features that give its literature a certain direction. Far more important are its morphological peculiarities. It makes a great deal of difference for the development of style if the language can or cannot create compound words, if its structure is synthetic or analytic, if the words of its sentences have considerable freedom of position or are compelled to fall into a rigidly determined sequence. The major characteristics of style, in so far as style is a technical matter of the building and placing of words, are given by the language itself, quite as inescapably, indeed, as the general acoustic effect of verse is given by the sounds and natural accents of the language. These necessary fundamentals of style are hardly felt by the artist to constrain his individuality of expression. They rather point the way to those stylistic developments that most suit the natural bent of the language. It is not in the least likely that a truly great style can seriously oppose itself to the basic form patterns of the language. It not only incorporates them, it builds on them. The merit of such a style as W.H. Hudson’s or George Moore’s is that it does with ease and economy what the language is always trying to do. Carlylese, though individual and vigorous, is yet not style; it is a Teutonic mannerism. Nor is the prose of Milton and his contemporaries strictly English; it is semi-Latin done into magnificent English words. [199] It is strange how long it has taken the European literatures to learn that style is not an absolute, a something that is to be imposed on the language from Greek or Latin models, but merely the language itself, running in its natural grooves, and with enough of an individual accent to allow the artist’s personality to be felt as a presence, not as an acrobat. We understand more clearly now that what is effective and beautiful in one language is a vice in another. Latin and Eskimo, with their highly inflected forms, lend themselves to an elaborately periodic structure that would be boring in English. English allows, even demands, a looseness that would be insipid in Chinese. And Chinese, with its unmodified words and rigid sequences, has a compactness of phrase, a terse parallelism, and a silent suggestiveness that would be too tart, too mathematical, for the English genius. While we cannot assimilate the luxurious periods of Latin nor the pointilliste style of the Chinese classics, we can enter sympathetically into the spirit of these alien techniques. I believe that any English poet of to-day would be thankful for the concision that a Chinese poetaster attains without effort. Here is an example: [200] These twenty-eight syllables may be clumsily interpreted: “At the mouth of the Yangtsze River, as the sun is about to sink, I look north toward Liao-Tung but do not see my home. The steam-whistle shrills several times on the boundless expanse where meet sky and earth. The steamer, floating gently like a hollow reed, sails out of the Middle Kingdom.” But we must not envy Chinese its terseness unduly. Our more sprawling mode of expression is capable of its own beauties, and the more compact luxuriance of Latin style has its loveliness too. There are almost as many natural ideals of literary style as there are languages. Most of these are merely potential, awaiting the hand of artists who will never come. And yet in the recorded texts of primitive tradition and song there are many passages of unique vigor and beauty. The structure of the language often forces an assemblage of concepts that impresses us as a stylistic discovery. Single Algonkin words are like tiny imagist poems. We must be careful not to exaggerate a freshness of content that is at least half due to our freshness of approach, but the possibility is indicated none the less of utterly alien literary styles, each distinctive with its disclosure of the search of the human spirit for beautiful form. [203] Probably nothing better illustrates the formal dependence of literature on language than the prosodic aspect of poetry. Quantitative verse was entirely natural to the Greeks, not merely because poetry grew up in connection with the chant and the dance, but because alternations of long and short syllables were keenly live facts in the daily economy of the language. The tonal accents, which were only secondarily stress phenomena, helped to give the syllable its quantitative individuality. When the Greek meters were carried over into Latin verse, there was comparatively little strain, for Latin too was characterized by an acute awareness of quantitative distinctions. However, the Latin accent was more markedly stressed than that of Greek. Probably, therefore, the purely quantitative meters modeled after the Greek were felt as a shade more artificial than in the language of their origin. The attempt to cast English verse into Latin and Greek molds has never been successful. The dynamic basis of English is not quantity, but stress, the alternation of accented and unaccented syllables. This fact gives English verse an entirely different slant and has determined the development of its poetic forms, is still responsible for the evolution of new forms. Neither stress nor syllabic weight is a very keen psychologic factor in the dynamics of French. The syllable has great inherent sonority and does not fluctuate significantly as to quantity and stress. Quantitative or accentual metrics would be as artificial in French as stress metrics in classical Greek or quantitative or purely syllabic metrics in English. French prosody was compelled to develop on the basis of unit syllable-groups. Assonance, later rhyme, could not but prove a welcome, an all but necessary, means of articulating or sectioning the somewhat spineless flow of sonorous syllables. English was hospitable to the French suggestion of rhyme, but did not seriously need it in its rhythmic economy. Hence rhyme has always been strictly subordinated to stress as a somewhat decorative feature and has been frequently dispensed with. It is no psychologic accident that rhyme came later into English than in French and is leaving it sooner. Chinese verse has developed along very much the same lines as French verse. The syllable is an even more integral and sonorous unit than in French, while quantity and stress are too uncertain to form the basis of a metric system. Syllable-groups—so and so many syllables per rhythmic unit—and rhyme are therefore two of the controlling factors in Chinese prosody. The third factor, the alternation of syllables with level tone and syllables with inflected (rising or falling) tone, is peculiar to Chinese. [204] [205] [206] To summarize, Latin and Greek verse depends on the principle of contrasting weights; English verse, on the principle of contrasting stresses; French verse, on the principles of number and echo; Chinese verse, on the principles of number, echo, and contrasting pitches. Each of these rhythmic systems proceeds from the unconscious dynamic habit of the language, falling from the lips of the folk. Study carefully the phonetic system of a language, above all its dynamic features, and you can tell what kind of a verse it has developed—or, if history has played pranks with its phychology, what kind of verse it should have developed and some day will. Whatever be the sounds, accents, and forms of a language, however these lay hands on the shape of its literature, there is a subtle law of compensations that gives the artist space. If he is squeezed a bit here, he can swing a free arm there. And generally he has rope enough to hang himself with, if he must. It is not strange that this should be so. Language is itself the collective art of expression, a summary of thousands upon thousands of individual intuitions. The individual goes lost in the collective creation, but his personal expression has left some trace in a certain give and flexibility that are inherent in all collective works of the human spirit. The language is ready, or can be quickly made ready, to define the artist’s individuality. If no literary artist appears, it is not essentially because the language is too weak an instrument, it is because the culture of the people is not favorable to the growth of such personality as seeks a truly individual verbal expression. For the index, click the pasted link https://www.gutenberg.org/files/12629/12629-h/12629-h.htm#index About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Urbana, Illinois: Project Gutenberg. Retrieved April 2022 from Sapir, Edward, 2004. Language: An Introduction to the Study of Speech. https://www.gutenberg.org/files/12629/12629-h/12629-h.htm#ch11 This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

Language: An Introduction to the Study of Speech: Chapter 11 - Language and Literature

This paper is available on arxiv under CC 4.0 license. Authors: (1) Michael Günther, michael.guenther; (2) Jackmin Ong, jackmin.ong; (3) Isabelle Mohr, isabelle.mohr; (4) Alaeddine Abdessalem, alaeddine.abdessalem; (5) Tanguy Abel, tanguy.abel; (6) Mohammad Kalim Akram, kalim.akram; (7) Susana Guzman, susana.guzman; (8) Georgios Mastrapas, georgios.mastrapas; (9) Saba Sturua, saba.sturua; (10) Bo Wang, bo.wang; (11) Maximilian Werk, maximilian.werk; (12) Nan Wang, nan.wang; (13) Han Xiao, han.xiao}@jina.ai. Table of Links Abstract & Introduction Related Work Training Process Overview Backbone Pre-training Fine-Tuning for Embeddings Evaluation Conclusion & References Appendix A Appendix

JINA EMBEDDINGS 2: 8192-Token General-Purpose Text Embeddings for Long Documents: Appendix

This paper is available on arxiv under CC 4.0 license. Authors: (1) Michael Günther, michael.guenther; (2) Jackmin Ong, jackmin.ong; (3) Isabelle Mohr, isabelle.mohr; (4) Alaeddine Abdessalem, alaeddine.abdessalem; (5) Tanguy Abel, tanguy.abel; (6) Mohammad Kalim Akram, kalim.akram; (7) Susana Guzman, susana.guzman; (8) Georgios Mastrapas, georgios.mastrapas; (9) Saba Sturua, saba.sturua; (10) Bo Wang, bo.wang; (11) Maximilian Werk, maximilian.werk; (12) Nan Wang, nan.wang; (13) Han Xiao, han.xiao}@jina.ai. Table of Links Abstract & Introduction Related Work Training Process Overview Backbone Pre-training Fine-Tuning for Embeddings Evaluation Conclusion & References Appendix 7 Conclusion We have introduced Jina Embeddings v2, a novel embedding model based on a modified BERT architecture. This model eschews positional embeddings and instead employs bi-directional ALiBi slopes to capture positional information. By training a series of embedding models with this innovative architecture on the Web document corpus C4 and subsequently fine-tuning them, we have enabled the encoding of the semantics of both short and long textual values into meaningful vector representations. This effort has produced a new suite of open-source embedding models capable of encoding texts containing up to 8192 tokens. These embeddings signify a 16x increase in the maximum sequence length compared to leading open-source embedding models. Additionally, our model suite exhibits competitive performance on the MTEB benchmark. We also demonstrate how utilizing extended sequence lengths can offer our models an advantage over those without such capabilities. References Nils Reimers and Iryna Gurevych. Sentence-bert: Sentence embeddings using siamese bert-networks. In Proceedings of the 2019 Conference on Empirical Methods in Natural Language Processing and the 9th International Joint Conference on Natural Lan-guage Processing (EMNLP-IJCNLP), pages 3982– 3992, 2019. Ofir Press, Noah A. Smith, and Mike Lewis. Train short, test long: Attention with linear biases enables input length extrapolation, 2022. Michael Günther, Louis Milliken, Jonathan Geuter, Georgios Mastrapas, Bo Wang, and Han Xiao. Jina embeddings: A novel set of high-performance sentence embedding models. arXiv preprint arXiv:2307.11224, 2023. Liang Wang, Nan Yang, Xiaolong Huang, Binxing Jiao, Linjun Yang, Daxin Jiang, Rangan Majumder, and Furu Wei. Text embeddings by weaklysupervised contrastive pre-training. arXiv preprint arXiv:2212.03533, 2022. Scott Deerwester, Susan T. Dumais, George W. Furnas, Thomas K. Landauer, and Richard Harshman. Indexing by latent semantic analysis. Journal of the American Society for Information Science, 41(6):391–407, 1990. 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Beir: A heterogenous benchmark for zero-shot evaluation of information retrieval models, 2021. Niklas Muennighoff, Nouamane Tazi, Loïc Magne, and Nils Reimers. Mteb: Massive text embedding benchmark, 2023. Jacob Devlin, Ming-Wei Chang, Kenton Lee, and Kristina Toutanova. Bert: Pre-training of deep bidirectional transformers for language understanding, 2019. Yinhan Liu, Myle Ott, Naman Goyal, Jingfei Du, Mandar Joshi, Danqi Chen, Omer Levy, Mike Lewis, Luke Zettlemoyer, and Veselin Stoyanov. Roberta: A robustly optimized bert pretraining approach, 2019a. Yann N. Dauphin, Angela Fan, Michael Auli, and David Grangier. Language modeling with gated convolutional networks. CoRR, abs/1612.08083, 2016. URL http://arxiv.org/abs/1612.08083. Noam Shazeer. GLU variants improve transformer. CoRR, abs/2002.05202, 2020. URL https://arxiv. org/abs/2002.05202. Ashish Vaswani, Noam Shazeer, Niki Parmar, Jakob Uszkoreit, Llion Jones, Aidan N. Gomez, Lukasz Kaiser, and Illia Polosukhin. 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